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1
Crispí, Marta. "Liturgical Spaces and Devotional Spaces: Analysis of the Choirs of Three Catalan Nuns’ Monasteries during the Fourteenth and Fifteenth Centuries." Arts 13, no. 4 (June 25, 2024): 112. http://dx.doi.org/10.3390/arts13040112.
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Choirs in female monastic and convent communities are spaces whose complexity has been highlighted because of their multipurpose and multifunctional nature. Although they are within the community’s private sphere of prayer of the divine office, it has also been noted that they play a liturgical role as the space from which the nuns ‘hear’ and follow the celebrations taking place in the church and even in the choral altars. The devotional–liturgical binomial is joined by other contrasting terms, like esglesia dintra–sgleya de fora, indicating a duality, as follows: the claustration (as an enclosed, internal and private space of the nuns) and the external church accessible to priests and laypeople, as well as private devotion versus community devotion. The Poor Clares of the monastery of Sant Antoni i Santa Clara actually mentioned the choir altar as nostro altar, underscoring the close bonds that joined them to a liturgical table in this private space, as opposed to those of the esglesia defora. The objective of this article is to study the choirs of three female monasteries in Barcelona during the fourteenth and fifteenth centuries—Sant Pere de les Puel·les (Benedictines), Sant Antoni i Santa Clara and Santa Maria de Pedralbes (both Clarissan)—from a holistic standpoint, including spaces, functions, goods, furnishings and decorations.
2
Manzo, Elena. "Sacred Architecture in the Neapolitan Baroque Era. Space, Decorations, and Allegories." Resourceedings 2, no. 3 (November 12, 2019): 46. http://dx.doi.org/10.21625/resourceedings.v2i3.624.
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In Naples (Italy), the passage from Renaissance to Baroque architectonic language could be identified between 1580 and 1612. During this era, one of the most significant topics of the architectonic research on the sacred space was the right compromise among the Counter-Reformation patterns, the central space and the oval plan. Giovanni Antonio Dosio and Dionisio di Bartolomeo were the most representative architects of this passage. They provide the access to new experimental varieties. So, when the architect Cosimo Fanzago arrived in Naples in 1612, the city was almost ready to use the emblematic ellipse plan of the Baroque, such as the churches Santa Maria della Sanita` and San Giovanni dei Fiorentini by Fra’ Nuvolo prove. Fanzago’s architectonic research was followed by the studies by Bartolomeo and Francesco Antonio Picchiatti, father and son, up to Domenico Antonio Vaccaro that was the most representative director of the Baroque sacred space scene. Moving from the analysis and comparison of the most representative churches of Neapolitans Baroque era, the paper proposes an unedited studio about the evolution of sacred space’s idea related to decoration, symbology and allegory, with a focus on Domenico Antonio Vaccaro’s works, such as the churches of Santa Maria della Concezione in Montecalvario neighbourhood, San Michele Arcangelo in Naples’ Piazza Dante, San Michele in Anacapri (on Capri Island), the Palazzo Abbaziale di Loreto and Saviour Church in San Guglielmo al Goleto Monastery, both near Avellino.
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Kinney, Dale. "Liturgy, Space, and Community in the Basilica Julii (Santa Maria in Trastevere)." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 81–100. http://dx.doi.org/10.5617/acta.7801.
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The Basilica Julii (also known as titulus Callisti and later as Santa Maria in Trastevere) provides a case study of the physical and social conditions in which early Christian liturgies 'rewired' their participants. This paper demonstrates that liturgical transformation was a two-way process, in which liturgy was the object as well as the agent of change. Three essential factors - the liturgy of the Eucharist, the space of the early Christian basilica, and the local Christian community - are described as they existed in Rome from the fourth through the ninth centuries. The essay then takes up the specific case of the Basilica Julii, showing how these three factors interacted in the concrete conditions of a particular titular church. The basilica's early Christian liturgical layout endured until the ninth century, when it was reconfigured by Pope Gregory IV (827-844) to bring the liturgical sub-spaces up-to-date. In Pope Gregory's remodeling the original non-hierarchical layout was replaced by one in which celebrants were elevated above the congregation, women were segregated from men, and higher-ranking lay people were accorded places of honor distinct from those of lesser stature. These alterations brought the Basilica Julii in line with the requirements of the ninth-century papal stational liturgy. The stational liturgy was hierarchically organized from the beginning, but distinctions became sharper in the course of the early Middle Ages in accordance with the expansion of papal authority and changes in lay society. Increasing hierarchization may have enhanced the transformational power of the Eucharist, or impeded it.
Keywords: S. Maria in Trastevere, stational liturgy, tituli, presbyterium.
On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
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Scirea, Fabio. "Riconsiderare l'insediamento monastico di Torba: la torre e le sue funzioni." Fenestella. Dentro l'arte medievale / Inside Medieval Art 3 (December 30, 2022): 169–202. http://dx.doi.org/10.54103/fenestella/19447.
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This article reconsiders some aspects of the early medieval monastic settlement of Torba, starting from an established historiography and the very recent publication of new archaeological data. Focusing on the Monastery tower, which had been part of the late antique curtain wall of Castelseprio, the research has led to a new interpretation of the construction phases and functions. The contribution thus offers new hypotheses for interdisciplinary evaluation, particularly about the possibility that the monastic choir might have been installed in a space not consecrated. The mural paintings of both the tower and the church of Santa Maria remain to be reconsidered in detail, as well as the relationship with the monastic building leaning against the curtain wall. The results should later be compared with the updated research on female monastic settlements in the early medieval West.
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Marrocchino, Elena, Chiara Telloli, and Carmela Vaccaro. "Geochemical and Mineralogical Characterization of Construction Materials from Historical Buildings of Ferrara (Italy)." Geosciences 11, no. 1 (January 7, 2021): 31. http://dx.doi.org/10.3390/geosciences11010031.
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This paper presents a chemical-mineralogical characterization of construction materials from medieval Renaissance buildings of Ferrara (NE Italy) to provide an insight into the nature and provenance of the raw materials used. Biagio Rossetti was an Italian architect and urbanist from the city of Ferrara. From 1483, he was the architect of the Duke of Ferrara Ercole I d’Este who in 1492 assigned him the project of enlarging the city of Ferrara. Biagio Rossetti is still famous because he designed and built many notable palaces and churches in Ferrara, e.g., the Palazzo Roverella, the monastery of Santa Maria delle Grazie and the renovation of the church of San Andrea. To date, only the first two historic buildings are still in use and consequently restored, while the church of San Andrea has been abandoned over the years and the remains have been subject to decay. Different kinds of samples (bricks, cotto, plaster and mortars) were collected from the three sampling sites and analyzed in X-ray fluorescence and X-ray diffractometer to investigate the construction materials through the evaluation of their chemical composition, historic building activity and degradation degree. These investigations should provide knowledge useful for restoration and conservation processes.
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Marrocchino, Elena, Chiara Telloli, and Carmela Vaccaro. "Geochemical and Mineralogical Characterization of Construction Materials from Historical Buildings of Ferrara (Italy)." Geosciences 11, no. 1 (January 7, 2021): 31. http://dx.doi.org/10.3390/geosciences11010031.
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This paper presents a chemical-mineralogical characterization of construction materials from medieval Renaissance buildings of Ferrara (NE Italy) to provide an insight into the nature and provenance of the raw materials used. Biagio Rossetti was an Italian architect and urbanist from the city of Ferrara. From 1483, he was the architect of the Duke of Ferrara Ercole I d’Este who in 1492 assigned him the project of enlarging the city of Ferrara. Biagio Rossetti is still famous because he designed and built many notable palaces and churches in Ferrara, e.g., the Palazzo Roverella, the monastery of Santa Maria delle Grazie and the renovation of the church of San Andrea. To date, only the first two historic buildings are still in use and consequently restored, while the church of San Andrea has been abandoned over the years and the remains have been subject to decay. Different kinds of samples (bricks, cotto, plaster and mortars) were collected from the three sampling sites and analyzed in X-ray fluorescence and X-ray diffractometer to investigate the construction materials through the evaluation of their chemical composition, historic building activity and degradation degree. These investigations should provide knowledge useful for restoration and conservation processes.
7
Wang, Weiqiao. "Comparative Review of Worship Spaces in Buddhist and Cistercian Monasteries: The Three Temples of Guoqing Si (China) and the Church of the Royal Abbey of Santa Maria de Poblet (Spain)." Religions 12, no. 11 (November 8, 2021): 972. http://dx.doi.org/10.3390/rel12110972.
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Although the two parallel architectural forms, Han Buddhists and the Cistercian monasteries, seem, on the surface, to be very different—belonging to different religions, different cultural backgrounds, and different ways of construction—they share many similarities in the internal institutional model of monks’ lives and the corresponding architectural core values. The worship space plays the most significant role in both monastic life and layout. In this study, the Three Temples of Guoqing Si and the Church of the Royal Abbey of Santa Maria de Poblet are used as examples to elucidate the connotations behind the architectural forms, in order to further explore how worship spaces serve as an intermediary between deities, monks, and pilgrims. Based on field research and experience of monastic life, this comparative study highlights two fundamental similarities between the Three Temples and the Church: First, both worship spaces are derived from imperial prototypes, have a similar priority of construction, occupy the most important place in both sacred venues, and both serve as a reference for the development of monastic layout. Second, both worship spaces are composed of a similar programmed functional layout, including similar space dominators as well as itineraries. Beyond the surface similarities, this article further analyzes the reasons behind the three differences found. Due to their different understanding of deities, both worship spaces show different ways of worship, images of deities, and distances towards them.
8
Covaci, Valentina. "Praying for the Liberation of the Holy Sepulchre: Franciscan Liturgy in Fifteenth Century Jerusalem." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 177–95. http://dx.doi.org/10.5617/acta.7806.
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The fall of Jerusalem to Saladin in 1187 and the loss of the Frankish Levant in 1291 triggered new calls or crusade and the literature dedicated to "the recovery of the Holy Land" (pro recuperatione Terre Sancte). The exhortation to war and the urgency of Jerusalem's deliverance were also expressed through liturgy. This article examines two liturgical texts, a "Votive mass for the recovery of the Holy Land" (Missa devota ad recurandam Terram Sanctam) and an "Introit to the Holy Sepulchre of the Lord" (Ad Sanctum Sepulcrum Donin introitus), transmitted in manuscripts from the Franciscan library in Jerusalem, the Biblioteca Generale della Custodia di Terra Santa. This article explores the two liturgical texts in the historical context of fifteenth-century Jerusalem, when the Franciscan friars where the only Latin clergy allowed to serve at the Holy Places. Historical accounts produced in this milieu evince the friars' efforts to memorialize the deeds of the crusader kings, celebrated as liberators of the Holy Land. The liturgical texts analysed here complement this militant memorialization.
Keywords: Jerusalem, Church of the Holy Sepulchre, Franciscan liturgy, recovery of the Holy Land.
On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
9
Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.523.
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Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695 – 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.
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Tulić, Damir. "Prilozi ranom opusu Giovannija Bonazze u Kopru, Veneciji i Padovi te bilješka za njegove sinove Francesca i Antonija." Ars Adriatica, no. 5 (January 1, 2015): 141. http://dx.doi.org/10.15291/ars.937.
Full textAbstract:
Stylistic changes in a sculptor’s oeuvre are simultaneously a challenge and a cause of dilemmas for researchers. This is particularly true when attempting to identify the early works of a sculptor while the influence of his teacher was still strong. This article focuses on the Venetian sculptor Giovanni Bonazza (Venice, 1654 – Padua, 1736) and attributes to him numerous new works both in marble and in wood, all of which are of uniform, high quality. Bonazza’s teacher was the sculptor Michele Fabris, called l’Ongaro (Bratislava, c.1644 – Venice, 1684), to whom the author of the article attributes a marble statue of Our Lady of the Rosary on the island of San Servolo, in the Venetian lagoon, which has until now been ascribed to Bonazza. The marble bust of Giovanni Arsenio Priuli, the podestat of Koper, is also attributed to the earliest phase of Bonazza’s work; it was set up on the façade of the Praetorian Palace at Koper in 1679. This bust is the earliest known portrait piece sculpted by the twenty-five-year old artist. The marble relief depicting the head of the Virgin, in the hospice of Santa Maria dei Derelitti, ought to be dated to the 1690s. The marble statue of the Virgin and Child located on the garden wall by the Ponte Trevisan bridge in Venice can be recognized as Bonazza’s work from the early years of the eighteenth century and as an important link in the chronological chain of several similar statues he sculpted during his fruitful career. Bonazza is also the sculptor of the marble busts of the young St John and Mary from the library of the monastery of San Lazzaro on the island of San Lazzaro degli Armeni in the Venetian lagoon, but also the bust of Christ from the collection at Castel Thun in the Trentino-Alto Adige region; they can all be dated to the 1710s or the 1720s. The article pays special attention to a masterpiece which has not been identified as the work of Giovanni Bonazza until now: the processional wooden crucifix from the church of Sant’Andrea in Padua, which can be dated to the 1700s and which, therefore, precedes three other wooden crucifixes that have been identified as his. Another work attributed to Bonazza is a large wooden gloriole with clouds, cherubs and a putto, above the altar in the Giustachini chapel in the church of Santa Maria del Carmine at Padua. The article attributes two stone angels and a putto on the attic storey of the high altar in the church of Santa Caterina on the island of Mazzorbo in the Venetian lagoon to Giovanni’s son Francesco Bonazza (Venice, c.1695 – 1770). Finally, Antonio Bonazza (Padua, 1698 – 1763), the most talented and well-known of Giovanni Bonazza’s sons, is identified as the sculptor of the exceptionally beautiful marble tabernacle on the high altar of the parish church at Kali on the island of Ugljan. The sculptures which the author of the article attributes to the Bonazza family and to Giovanni Bonazza’s teacher, l’Ongaro, demonstrate that the oeuvres of seventeenth- and eighteenth-century Venetian masters are far from being closed and that we are far from knowing the final the number of their works. Moreover, it has to be said that not much is known about Giovanni’s works in wood which is why every new addition to his oeuvre with regard to this medium is important since it fills the gaps in a complex and stylistically varied production of this great Venetian sculptor.
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Mance Cipek, Ivana. "Ana Marija Marović, slikarica na glasu svetosti." Radovi Instituta za povijest umjetnosti, no. 47 (March 2024): 125–44. http://dx.doi.org/10.31664/ripu.2023.47.10.
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Anna Maria Marovich (Venice, 1815 - Venice, 1887), a Venetian born into a family of Boka origins, achieved a reputation for sanctity during her lifetime due to her religious zeal and charitable work. With the initiation of her beatification process, she was formally recognized as an honourable servant of God (It. venerabile). However, she was also highly esteemed for her accomplishments in poetry and painting. Her inclusion in Ivan Kukuljević Sakcinski’s Slovnik umjetnikah jugoslavenskih (Lexicon of Yugoslav Artists) secured her a place in the Croatian gallery of prominent artistic figures. Although information about Anna Maria Marovich’s paintings is often relayed within the context of cultural historiography, relatively little has been said about her oeuvre from an art-historical perspective. Therefore, this paper reconstructs the historical context of her artistic endeavours, tracing her interest in artistic expression within the educational framework typical of an upper-middle-class girl of her era, and examining the support she received from two influential clerics - Abbot Daniele Canal (1791-1884) and Cardinal Jacopo Monico (1778-1851), the Venetian patriarch, with whom she also cooperated in converting monasteries into charitable institutions. Both figures were instrumental in fostering Marovich’s artistic career and played a significant role in promoting her figure and work within the Catholic Church and the Habsburg court. The paper also critically assesses certain assertions regarding Marovich’s painting oeuvre prevalent in scholarly literature, identifying her extant artworks that can be located and those known only through printed sources. Some limited conclusions are drawn about lost pieces that brought fame to the artist and gave rise to stories about them. Notable among these are a painting of Our Lady of Carmel commissioned by the Austrian empress Maria Anna in 1845, and an early piece depicting the Saviour made for Cardinal J. Monico around 1843, which indirectly influenced the imperial commission. Hypotheses concerning lost artworks are largely based on Marovich’s poetry, or rather her poetic exchange with various persons, in which frequent references are made to her paintings. The central part of the article analyses her most significant achievement - the Addolorata altarpiece created for the church of Santa Maria del Pianto o dei Sette Dolori in Venice. This altarpiece, reconsecrated in 1851 at the behest of Don Daniele Canal, was an integral part of the renovated monastic complex repurposed as an educational institution for girls. Surviving studies and drawings, which are here analysed in detail, confirm that Anna Maria Marovich received professional instruction, probably from the painter Maria Tagliapietra, who was active in Venice at the time. Iconographic analysis of the painting suggests that it belongs to the contemplative type of the sorrowful Mother of God, standing in the foreground at Christ’s tomb and praying with folded hands and a slightly lowered head. In previous centuries, such iconography was typically reserved for devotional images and uncommon on church altars dedicated to this cult, especially in pastoral centres. Consequently, it is inferred that Marovich’s altarpiece reflected a more recent or modern development of this form of piety, emphasizing its penitential aspect in alignment with the new purpose of the monastic complex as an institution for the resocialization of girls. The Addolorata altarpiece is also analysed from a stylistic point of view, establishing the painter’s departure from baroque conventions in depicting the subject and opting for classicist elements, consistent with prevailing trends of her time. However, claims that Marovich adhered to the Nazarene school are refuted; her eclectic approach, drawing from various artistic models ranging from the Raphaelesque to the Seicentoist, lacks a discernible preference indicative of a Nazarene influence. Nevertheless, her work resonated with the romantic sensibility of her era, which valued sincerity of motivation over formal properties. In the concluding part of the article, it is established that the figure and oeuvre of Anna Maria Marovich epitomize the European culture of restoration and the policy of the Catholic Church in social modernization, reflected in religious art. In this context, Marovich’s paintings, both thematically and iconographically, reflect the modern evolution of specific devotions popularized during the 19th century, which she actively promoted through her pious, charitable, and monastic activities. While her artistic style may not have been highly innovative, it should be evaluated within the context of the evolving societal role of art in bourgeois culture, where laywomen’s participation in artistic practice gained acceptance and acknowledgment.
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Fallica, Simone, Raissa Garozzo, and Cettina Santagati. "Retraced memories - virtual reconstruction of an architectural landmark." Virtual Archaeology Review 12, no. 25 (July 14, 2021): 124. http://dx.doi.org/10.4995/var.2021.15302.
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<p class="VARAbstract">This paper addresses the challenge of digitally reconstructing ruined architectural sites and retracing their history, in order to virtually recompose their geometrical, stylistic and material integrity. To this end, the research team analyzed the ruins of the church of Santa Maria de Monasterio Albo, located in the ancient village of Misterbianco (Sicily) and destroyed (together with the entire hamlet) by the 1669 eruption of Mount Etna. In the last years, some excavation campaigns brought the church to the light, unveiling the remains of the main portal and six altars, which are one of the most remarkable examples of Mannerist art in eastern Sicily. This research aimed to three-dimensional (3D) reconstruct both the altars and the portal, ideally reviving their original 17<sup>th</sup> century configuration. This goal was achieved through an in-depth archival research (documents dating back to the years between 1300 and 1666 were consulted), an analysis of Classic and Renaissance treatises, and two integrated digital survey campaigns (laser scans and photogrammetry). The outcome is represented by the 3D models of the seven artifacts, which include surviving parts reconstructed as photogrammetric meshes, several fragments were placed in their likely early location through a virtual anastylosis, and NURBS (Non Uniform Rational Basis-Splines) surfaces (recreating the no longer existing elements). The latter were 3D modelled based on the treatises (which provided information on the correct proportioning) or in analogy with other coeval similar artifacts. Overall, the digital reconstruction was based on the ethical principles of transparency of the intervention, recognition of non-original additions and distinction between evidence and hypothesis, according to the London Charter and the Seville Principles. The experimentation provides a valid support for possible interventions in the real world and is the starting point to develop a digital archive of the site, which would make the different accuracy levels the reconstruction explicit.</p><p><strong>Highlights:</strong></p><ul><li><p>3D virtual reconstruction is effective to visualize and bring back to life ruined architectural artefacts.</p></li><li><p>Information about the artefacts original appearance was harvested through digital survey campaigns, archival documents, and comparisons with iconographic sources and coeval buildings.</p></li><li><p>The 3D reconstruction follows ethical principles of transparency and combines photogrammetric meshes (partly relocated through a virtual anastylosis) and NURBS surfaces.</p></li></ul>
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Westwell, Arthur. "The Ordines Romani and the Carolingian Choreography of a Liturgical Route to Rome." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 63–79. http://dx.doi.org/10.5617/acta.7800.
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This article examines a number of Carolingian liturgical manuscripts (Wolfenbuttel Herzog August Bibliothek Wissenbourg 91, Cologne Dombibliothek MS 138, Vienna Österreichische Nationalbibliothek cod.ser.n. 2762 and Paris Bibliothèque de l'Arsenal 227) each containing texts now known as the ordines romani. These texts are "stage directions" for the liturgy, distinguished by their reference to the practices of the church of Rome. While the ordines romani certainly give precious information about Roman liturgical practice, the Frankish contribution to shaping and displaying these texts inline with their own priorities and usages must be acknowledged too. For example, these manuscripts all combine ordines romani with texts about Roman history and topography. For these readers, the desired imitation of Roman liturgical practice was not about copying any particular text or practice by rote, but a deeper form of participation that involved the construction of an image of Rome across a whole manuscript. The given image of Rome responded to the institutional or personal needs animating the manuscript. These manuscripts compel us to imagine diverse practices of reading within and without liturgical performance.
Keywords: pontificals, topography, Ordines, manuscripts, Carolingians.
On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
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Verbaal, Wim. "Resurrecting Rome. Liturgy and Rome's Second Revival." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 101–12. http://dx.doi.org/10.5617/acta.7802.
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Liturgy is one of the more underestimated entries of the Gregorian reform. Surely, this is due to the difficulty of getting a clear view of concrete and detailed liturgical evolutions and renewals. It seems, however, to have been one of the more important elements at stake during the short period of the bitter and hard confrontations between the leading layers of the Church around 1100. Besides, between about 1050 and 1150, Rome saw an intense building activity of new churches according to new plans that seem to have been partly dictated by liturgical renovations. Notably, Pope Innocent II seems to have realized the importance of liturgy as a weapon to be used against his ecclesiastical and secular opponents. Thanks to the remarkable Liber politicus by Benedict the Canon (around 1140), we can have some ideas of the way innocent II used liturgy as a means to install his own imperial papacy. My contribution will have a closer look at Benedict's Liber politicus in its literary context as a means to reimagine Rome. The Liber will prove to be much more than a liturgical manual or a strange collection of disparate writings. Behind it lies a strong view of the political role of the papacy and of liturgy as a means to achieve and express papal supremacy.
On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
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Eriksen, Stefka G. "Teaching and practicing the Quadriga in Medieval Norway: A Reading of Barlaams og Josaphats Saga." Acta ad archaeologiam et artium historiam pertinentia 31 (December 31, 2019): 225–44. http://dx.doi.org/10.5617/acta.7809.
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The present volume establishes that Christian liturgy and religious rituals were the main tools for the transformation of the self after the introduction of Christianity in various cultural contexts of medieval Europe. The liturgical ritual was the ultimate arena and outer manifestation of the cognitive and behavioral changes required by individuals and which were inspired in them by the Church. In this article, I will discuss whether the same tools for transformation were relevant in medieval Norway and how self-reflection and cognitive change were triggered not only during the liturgy but also through other activities, such as the reading of literature. The primary focus will be on the medium of the book, here exemplified by an Old Norse translation of the pan-European legend about Barlaam and Josaphat as preserved in its main manuscript Holm Perg 6 fol., c. 1250. By Studying the content of the saga, its narratological structure, and the mise en page of the manuscript, I will argue that the text foregrounded the Christian quadriga model of interpreting and may have served to teach this model to its readers, i.e. members of the upper social class in medieval Norway during the second half of the thirteenth and the beginning of the fourteenth century. This book itself, with its specific mise en page, may thus be seen as a tool assisting in the transformation of the self, in a similar way as the liturgy.
Keywords: Barlaams saga, Quadriga, cognitive transformation, mise en page, medieval Norway.
On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.
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Dyadyunova, Natalya Arturovna. "The Frontal of Sant' Marti de Puigbo and the Saint Martin of Tours Iconography in the Catalan Altar Painting Tradition." Человек и культура, no. 3 (March 2022): 23–34. http://dx.doi.org/10.25136/2409-8744.2022.3.38220.
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The subject of research in this article is the iconography and cult of St. Martin of Tours in the Catalan altar painting tradition. The object of the study is a unique monument of the first half of the 12th century – the frontal of Sant Marti de Puigbo, once considered one of the most ancient works of Catalan Romanesque panel painting. The author made an attempt to dispel the historiographical myth about the antiquity of piece of art and embed it into the historical, cultural and political context. It was the method of iconographic analysis that made it possible to link the creation of the frontal of Sant' Marti de Puigbo with the special cult of Saint Martin of Tours in the Catalan Comarques, as well as with his patronage of the counts of Barcelona. In the course of the study, the author concluded that the creation of the Frontal Sant' Marti de Puigbo is connected with the reign of Count Ramon Berenguer III of Barcelona, whose patron saint was Saint Martin. This conclusion made it possible to more accurately date the frontal from the church of Sant'marti de Puigbo. The connection between the veneration of the cult of St. Martin and the activities of Ramon Berenguer is evidenced by archival documents, as well as some monuments dedicated to St. Martin located in the territories controlled by the Count of Barcelona. The analysis made it possible to link the iconography of St. Martin on the frontal from Puigbo with the iconography of Ramon Berenguer III on the tombstone of the count from the monastery of Santa Maria de Ripoll, which also allowed the author to conclude that the frontal and the sculptural tombstone could have been made in the same workshop. The novelty of the research lies in the fact that no attempt has yet been made to completely reconstruct the context of commission of this example of the Catalan altarpiece painting and determine the exact time and place of its creation.
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SÁNCHEZ CARRASCO, Juan José. "evolución patrimonial del monasterio de Santa María de la Concepción de la orden de San Jerónimo de Granada (siglos XV-XVII)." Medievalismo, no. 28 (October 8, 2018): 295–317. http://dx.doi.org/10.6018/medievalismo.28.345181.
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El objetivo del presente trabajo es estudiar el desarrollo patrimonial del Monasterio de Santa María de la Concepción de la orden de San Jerónimo de Granada. Para la elaboración del ensayo se ha realizado una exhaustiva búsqueda documental en archivos tanto granadinos como nacionales y se han empleado los datos de las publicaciones existentes sobre el monasterio que datan de los años 90 del pasado siglo. Se ha conseguido realizar un estudio completo sobre todas las transacciones que realizó la orden durante los siglos XV-XVI y ubicar sus propiedades mediante Sistemas de Información Geográfica (SIG). The aim of this work is to study the heritage development of the Monastery of Santa Maria de la Concepción of the Order of Saint Jerome in Granada. For this purpose, an exhaustive data search has been undertaken in both local and national archives, in addition to the use of information contained in the literature published on the topic in the 90s of the twentieth century. It has been possible to achieve a comprehensive study of all the transactions carried out by the Order during the 15th and 16th centuries and locate their properties using geographic information systems (GIS).
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Foutakis, Patrice. "The church of Santa Maria de Valverde in Modon." Journal of Historical Archaeology & Anthropological Sciences 6, no. 1 (February 25, 2021): 1–4. http://dx.doi.org/10.15406/jhaas.2021.06.00237.
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Popovic, Marko. "The Saxon church in Novo Brdo - Santa Maria in Novomonte." Starinar, no. 69 (2019): 319–47. http://dx.doi.org/10.2298/sta1969319p.
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The site with the remains of the Saxon church, that is, the former Catholic church of St Mary, lies on a mild slope that descends from the fort to the southeast, or the village of Bostane. Located at a distance of about 1,200 m from Novo Brdo?s Lower Town, it was outside this former urban area. It was intermittently investigated in the 1950s and ?60s, but the complete results of these works have not been published. With this in mind, after almost six decades, an attempt was made, based on the remaining fieldwork documentation, to examine in more detail the complex of this important Novo Brdo edifice. The investigated remains of the church itself reveal three stages, or more precisely, construction phases, which reflect the emergence, renovation and extension of this temple over an extended period of time, from the first decades of the 14th to the end of the 17th century. The first and most important stage comprises the construction of the church itself, as well as the successive adding of masonry tombs and graves in the interior of the original temple. The following stage includes an extensive renovation and expansion of the church, while the third and final stage is distinguished by the construction of a porch in front of the western fa?ade (Fig. 2). The Saxon church is a single-nave temple of a spacious rectangular base. On the eastern side, two massive pilasters separated the nave from a much narrower alter area that terminated in a semicircular apse. This space, that is, the presbytery, was divided by a pair of similar massive pilasters into two unequal parts - a shorter western one, which could be labelled as the choir, and a much larger eastern one, in the centre of which was a masonry altar mensa in the form of a massive column and two simultaneously built steps. In front of them, on the same western side, this construction also included the first, monolithic step, which on the sides had step-like profiled cubes, the upper surface of which contained regularly carved circular indentations for the placement of massive candles. Alongside all four corners of the masonry construction of the alter mensa, steplike profiled bases carved from breccia were discovered in situ, which most likely carried the construction of a wooden ciborium. On the southern side, in the corner between the altar area and the wider nave, a sacristy was located, which was connected by a door to the presbytery, that is, the choir. The interior of the Saxon church, which was completely explored, revealed the existence of several burial horizons, which can, chronologically and in terms of their general characteristics, be determined. The oldest burials, which were performed within the original church, somewhat differ from the later ones, from the time after the renovation of the temple, as well as the construction of the porch. Characteristic of the older period are masonry tombs, intended for a number of burials (Fig. 3). Generally observed, despite the noticeable construction technique typical of the local area, the Saxon church stylistically resembled a Gothic edifice. What particularly contributed to this are stylistically clearly recognisable tall and narrow windows with a broken arch. Such a stylistic preference, in all likelihood, was also influenced by a possible solution for the under- roof construction above the unvaulted nave. The Saxon church in Novo Brdo represents a peculiar phenomenon in the territory of Serbia. It is immediately apparent that the church?s spatial solution corresponded to the needs of Roman Catholic worship. However, by the form of its base it is distinguished from the usual types of Catholic temples in the coastal areas of medieval Serbia, from where the western cultural influences flowed. It was clearly noted that the base of the Novo Brdo church has no close parallels among churches of the Adriatic, which imposed the need for a more detailed consideration of its spatial solution. It?s base, with a rectangular nave, a narrower vaulted presbytery and a laterally positioned sacristy, is characteristic of sacral architecture in a wider area, from the Netherlands, Southern Germany and Saxony, all the way to Transylvania - Ardeal. The spread of this type of base from the areas of its origin, during the 12th and 13th centuries, can be associated with the Saxon diaspora, specifically the Sassi miners, progressing towards the east. This was particularly indicated by a considerable number of these temples in the mining areas of Ardeal, from where the Sassi migrations advanced further down to the south, namely, to the central regions of the Balkans. The thus perceived base of the Novo Brdo church, which, on the whole, follows the spatial solution of Saxon temples, represents the southernmost example of a sacral edifice of this type in Southeast Europe. The time of the construction of the Saxon church in Novo Brdo can be quite reliably determined despite the fragmentarily preserved documentation. The rapid development of the city was undoubtedly accompanied by religious organising, first of the Sassi miners, followed by numerous merchants from Adriatic towns, primarily those from the ?King?s City? of Kotor, and subsequently also from Dubrovnik. Based on all these findings it can be quite safely concluded that the first newly erected church in Novo Brdo was precisely the Saxon church, that is, Santa Maria in Novomonte. It was built, without any doubt, due to the efforts of the newly settled Sassi mining community. Such a conclusion can reliably be drawn on the basis of the spatial solution of the new temple rooted in traditions from the homeland, which were disseminated by this mining population in all areas of their diaspora. The very method of building and some construction solutions, which did not affect the basic concept, were left to local builders. This dating is further supported by coin finds, the oldest specimens of which originate from the last decade of the reign of King Stefan Uros II (1282-1321). The Saxon church, outside the fortified Lower Town, shared the fate of Novo Brdo. Since it was located on the access route to the city, which was not especially defended, it could have been exposed to occasional Turkish attacks during the last decades of the 14th century. With significant destruction, as evidenced by the results of archaeological excavations, the earlier period of life of the Saxon church came to an end. It can be assumed that this took place at the time of the almost two-year long Turkish siege of Novo Brdo between 1439 and 1441. After the Turkish occupation of Novo Brdo in 1455, and upon restoring stability in the conquered city, conditions were created for the renovation of the Saxon church ? Santa Maria in Novomonte. One letter from Rome, sent to the archbishop of the city of Bar in 1458, indicates that this was also advocated by Pope Pius II personally. Major works on that occasion, as shown by archaeological investigations, were conducted within the area of the nave, which was almost entirely in ruins. The undertaken renovation provided the opportunity to increase the size of the church, specifically to extend it westward by 2.70 m. New walls were built from the ground up on the northern and western side of the nave, while within the altar area, which was certainly much better preserved, no traces of any subsequent alterations were noted. Somewhat later, in front of the renovated church, a wooden porch was added. The Saxon church was also used for worship during the 16th and the first half of the 17th century. The archbishop of Bar, Marino Bizzi, during a canonical visitation in 1610, noted that the church at that time fulfilled all the requirements for worship. Three decades later, his successor, Archbishop Giorgio Bianchi, visited the Novo Brdo ?canonical church dedicated to St Mary?, which he says was in the hands of Christians and that inside ?are graves in which Catholics are buried??. This is also the last known data regarding this prominent Novo Brdo temple, which was, without a doubt, finally destroyed during the Austro-Turkish war at the end of the 17th century.
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Chrisylla, Meielisa. "SIMBOLISASI PADA RANCANGAN ARSITEKTUR GEREJA KATOLIK SANTO PETRUS DAN GEREJA KATOLIK SANTA PERAWAN MARIA TUJUH KEDUKAAN DI KOTA BANDUNG." ARTEKS, Jurnal Teknik Arsitektur 1, no. 1 (December 5, 2016): 1. http://dx.doi.org/10.30822/artk.v1i1.79.
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Title: Architectural Design Symbolism Catholic Church of Saint Peter and The Virgin Mary Catholic Church Santa Grief Seven in BandungAs a place of holy worship, a Catholic Church should posses a sacred interior and exterior expression. Modernization has caused a good deal of this sacred expression of the Catholic Church to fade. As Catholic Church is a place of worship that supports all liturgical activities, semiotic theory are used toanalyze and decipher its architecture to preserve sacredness. The research methodology that was employed was qualitative methods using Peirce’s semioticprinciples and their implementation in Church architecture. The principle was then used to analyze two case studies in every detail of their draw up. The area of planning encompassed: (1) Scope of the surrounding environment; (2) Scope of the site; (3) Scope of the form. This analysis employed semiotic principles that were elaborated with Catholic Church principles to create a guideline in thearchitectural planning of a Catholic Church. The purpose of this research is to find the most dominant sacral expression between Santo PetrusChurch and the Santa Perawan Maria Tujuh Kedukaan Church by means of the symbols attached to the architectural elements between these two Catholic Churches.The results of this study were that sacral expression in terms of (1) Scope of the surrounding environment; (2) Scope of the site; (3) Scope of the form are more dominant in the Santo Petrus Church compared to the Santa Perawan Maria Tujuh Kedukaan Church.Keywords: Peirce’s semiotics, sacral expression, catholic church
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Chagas, Eduardo Cursino de Faria. "O Cavaleiro nas Cantigas de Santa Maria." Nuntius Antiquus 10, no. 1 (June 30, 2014): 31–50. http://dx.doi.org/10.17851/1983-3636.10.1.31-50.
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This paper aims to expose the theme of chivalry in the Cantigas de Santa Maria, compiled at the court of King Alfonso X the Wise (1221-1284). The purpose of this study is to approach the following topics: the spiritual and amorous vassalage service of the knight towards the lady and values of chastity, fidelity and faith, present in the selected corpus (eight songs), which deals with the aforementioned issues, examining not only the symbolism of the chivalry, but also the devotion to the Virgin, and how she helps the knight’s religiosity and obedience, who honors the ritual accolade’s oath and the weapons’ watch, rites which are celebrated in the Church.
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Matera, Loredana, Raffaele Persico, Edoardo Geraldi, Maria Sileo, and Salvatore Piro. "GPR and IRT tests in two historical buildings in Gravina in Puglia." Geoscientific Instrumentation, Methods and Data Systems 5, no. 2 (November 29, 2016): 541–50. http://dx.doi.org/10.5194/gi-5-541-2016.
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Abstract. This paper describes a geophysical investigation conducted into two important churches, namely the Cathedral of Santa Maria Assunta and the Church of Santa Croce, both in Gravina in Puglia (close to Bari, southern Italy). The Church of Santa Croce, now deconsecrated, lies below the cathedral. Therefore, the two churches constitute a unique building body. Moreover, below the Church of Santa Croce there are several crypts, which are only partially known. The prospecting was performed both with a pulsed commercial ground penetrating radar (GPR) system and with a prototypal reconfigurable stepped frequency system. The aim was twofold, namely to gather information about the monument and to test the prototypal system. The GPR measurements have also been integrated with an infrared thermography (IRT) investigation performed on part of the vaulted ceiling in the Church of Santa Croce, in order to confirm or deny a possible interpretation of certain GPR results.
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Bergstein, Mary. "Marian Politics in Quattrocento Florence: The Renewed Dedication of Santa Maria del Fiore in 1412." Renaissance Quarterly 44, no. 4 (1991): 673–719. http://dx.doi.org/10.2307/2862484.
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On the Feastday of the Nativity of the Virgin, September 8, 1296, the papal legate of Boniface VIII, Pietro Valeriano di Piperno, blessed the rebuilding of the church of S. Reparata in Florence. In the ceremonial presence of the podestà, the Standard-Bearer of Justice, and the priors of the Signoria, he named the new cathedral “Santa Maria del Fiore.” Arnolfo di Cambio was made chief architect in charge of the renewal; and it was he who began a program of monumental sculpture devoted to the life of the Virgin (fig. 1). Giovanni Villani, who recorded the benediction ceremony in his chronicle, admitted that notwithstanding the rededication of the church to the Virgin and the invention of the poetic name “Santa Maria del Fiore,” most Florentines continued to call the cathedral S. Reparata.
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Getz, Christine. "Simon Boyleau and the Church of the ‘Madonna of Miracles’: Educating and Cultivating the Aristocratic Audience in Post-Tridentine Milan." Journal of the Royal Musical Association 126, no. 2 (2001): 145–68. http://dx.doi.org/10.1093/jrma/126.2.145.
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The cappella musicale at Santa Maria presso San Celso in Milan, also known as the church of the ‘Madonna of Miracles’, was originally charged with the performance of individual plainchant Masses on specified feasts, Vespers as a choir daily in the summer and on those specified feasts, and Compline as a choir during Lent. In 1535, however, its duties were expanded to include a High Mass and a Vespers service on the first Sunday of each month. With Carlo Borromeo's ascension to the seat of archbishop of Milan in 1560, the cappella's Vespers service became central to public worship, and attracted foreign visitors as well as the Milanese aristocracy. As a result, public worship services featuring the cappella were expanded to include a Compline service on Saturday evenings. Simon Boyleau, the first documented maestro di cappella at Santa Maria presso San Celso, was a madrigalist familiar to the Milanese aristocracy. His compositions for Santa Maria presso San Celso reflect not only Borromeo's attempts to shape the Milanese liturgical style according to Tridentine aims, but also Borromeo's desire to spiritualize and theologically educate the Milanese aristocracy. Boyleau's tenure at Santa Maria presso San Celso, which featured the cultivation of sacred and secular audiences alike, defined the activities of the church's composers for the next 50 years.
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Richard, Bryan, and Josephine Roosandriantini. "THE APPLICATION OF GOTHIC ARCHITECTURE IN THE CATHOLIC CHURCH OF THE BIRTH OF THE VIRGIN MARY IN SURABAYA." Arsitektur Universitas Pandanaran Jurnal 2, no. 1 (April 1, 2022): 62–71. http://dx.doi.org/10.54325/arsip.v2i1.17.
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Arsitektur gotik merupakan arsitektur yang muncul pada abad pertengahan di eropa dimana arsitektur ini merupakan hasil evolusi dari arsitektur romawi yang muncul karena adanya kebosanan terdahap bentuk bangunan yang terlalu monoton.Arsitektur gotik sendiri memiliki ciri khas yang paling terkenal adalah bentuk bangunan yang megah dengan atap yang runcing serta terdapat rose window yang menjadi ciri khas khusus dari arsitektur gotik.Bangunan yang akan dijadikan objek penelitian adalah gereja katolik kelahiran santa perawan maria yang terletak di jalan kepanjen Surabaya,hal ini dikarenakan gereja katolik kelahiran .Penelitian ini akan berfokus pada bentuk bangunan, atap,struktur bangunan,bahan material yang digunakan,bentuk jendela dan pintu serta ornamen pada bangunan gereja dengan menggunakan metode literatur dan survei lapangan.Berdasarkan penelitian yang telah dilakukan di gereja katolik kelahiran santa perawan maria ditemukan unsur-unsur arsitektur gotik pada bangunan gereja seperti penggunaan pilar sebagai kolom bangunan,penggunaan atap runcing serta adanya rose window sehingga gereja katolik kelahiran santa perawan maria dapat dikatakan sebagain bangunan dengan arsitektur
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Carocci, Caterina F., Serena Cattari, Sergio Lagomarsino, and Cesare Tocci. "The Case Study of Santa Maria Paganica Church Damaged by 2009 L’Aquila Earthquake." Advanced Materials Research 133-134 (October 2010): 163–68. http://dx.doi.org/10.4028/www.scientific.net/amr.133-134.163.
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Santa Maria Paganica Church, built in the second half of XIII century, represents one of the most important church for L’Aquila history (being the second so-called “capoquarto” church). During the centuries, due also to the damages suffered by various earthquakes, important structural modifications, which are decisive for the interpretation of the seismic response, followed. In particular, as a consequence of L’Aquila earthquake (April 6, 2009), severe collapses interested the church, which in particular occurred in: the dome and dome cladding, the whole roof (with exception of apse), the upper part of the lateral wall on left side, the gable of façade. Several vulnerability factors facilitated the collapse of these portions, in particular: the constructive precariousness of nave’s masonry walls; the asymmetric transversal stiffness on the two opposite sides of nave; the replacement of the original roof. In the paper, starting from the analysis of the constructive details and the subsequent transformations which interested this church, the interpretation of its seismic response will be discussed. Moreover some preliminar issues, associated to the different solutions for the church rebuilding and the strengthening interventions which should be adopted, will be examined.
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De Giorgi, Lara, Ivan Ferrari, Francesco Giuri, Giovanni Leucci, and Giuseppe Scardozzi. "Integrated Geoscientific Surveys at the Church of Santa Maria della Lizza (Alezio, Italy)." Sensors 21, no. 6 (March 21, 2021): 2205. http://dx.doi.org/10.3390/s21062205.
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The church of Santa Maria della Lizza is one of the most important examples of medieval architecture in the Salento Peninsula in south Italy. In order to understand the extension and layout of the crypts, integrated ground-penetrating radar (GPR) prospections and laser scanner surveys were undertaken in the church and in the surrounding areas. The analysis of the GPR measurements revealed many anomalies that could be ascribed to unknown structures (crypts), as well as other anomalies related to the old church. The GPR data were supported by the laser scanner data establishing the spatial relationship between the surface and the level below the church.
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Riccioni, Stefano. "Rewriting Antiquity, Renewing Rome. The Identity of the Eternal City through Visual Art, Monumental Inscriptions and the Mirabilia." Medieval Encounters 17, no. 4-5 (2011): 439–63. http://dx.doi.org/10.1163/157006711x598802.
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AbstractDuring the eleventh and twelfth centuries the Church began a process of renovation (renovatio) and the city of Rome was given new meanings. Antiquity is part of the identity of the Eternal City; the reuse or reframing of aspects of antiquity inevitably transformed the image of Rome. Public spaces, architecture and objects were given new Christian readings. Inscriptions, present both in sacred and secular settings, played an important role. A similar rewriting can also be found in travel literature and descriptions of the city, such as in the Mirabilia urbis Rome, where ancient monuments were re-interpreted to demonstrate the superiority of Christianity. Inscriptions were used as symbols of authority, as can be seen in the altar of the church of Santa Maria in Portico, in the papal thrones (San Clemente, Santa Maria in Cosmedin, San Lorenzo fuori le mura) and also in mosaics (San Clemente, Santa Maria in Trastevere). Inscriptions appeared on porticoed atriums built on new churches and added to older foundations, and they were used to renew ancient monuments and places. The Roman Commune used a similar strategy with civil buildings. The image of Rome was transformed through restoration and new construction that used spolia as meaningful objects, and inscriptions for their authoritative value.
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Boto, Gerardo. "El primer proyecto gótico de Santa Maria de Castelló d’Empúries." Mot so razo 20 (January 25, 2022): 67. http://dx.doi.org/10.33115/udg_bib/msr.v20i0.22748.
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<p>Resumen: Este estudio presenta un meticuloso análisis de la iglesia de Santa Maria de Castelló d’Empúries, sin duda uno de los edificios más originales y portentosos del primer gótico en Cataluña. Explicitando los objetivos, metodologías e hipótesis de trabajo, se disecciona su proceso constructivo, particularmente su primera fase, argumentando los fundamentos de una nueva interpretación, de modo que se superan hipótesis precedentes. Atendiendo a evidencias que han pasado desapercibidas, se propone una acotación cronológica para esta fase del edificio ca. 1261–1290. Del mismo modo, se identifican los referentes arquitectónicos de la fábrica de Castelló d’Empúries, que explicitan el currículum formativo del maestro responsable del primer proyecto constructivo, que hay que identificar con Reinald de Chartres. Los perfiles de esta personalidad artística son reconocibles a partir de la comprensión de los detalles más elocuentes y fundamentales de la fábrica. Se establece una perspectiva internacional, desde el gótico rayonnant de mediados del siglo XIII, para la iglesia de Santa Maria, deslindable del resto de la producción arquitectónica catalana del siglo XIII y primera mitad del XIV.</p><p> </p><p>Abstract: This study offers a detailed analysis of the church of Santa Maria de Castelló d’Empúries, undoubtedly one of the most original and portentous early Gothic buildings in Catalonia. The main objective of this text is to dissect the construction process of Santa Maria, especially its first phase, according to a methodology that focuses on the material analysis and documentary understanding of the church. Taking into account unnoticed particulars, it argues for a new interpretation that goes beyond previous hypotheses. Through material evidences, this study proposes a chronological estimation of the first project of the building to around 1261–1290, as well as its architectural references. These make explicit the architectural curriculum of the master responsible for the first construction project, who is to be identified as Reinald de Chartres. His artistic personality and technical skills are recognizable from the most eloquent and fundamental facts of the construction. The chronology and authorship of the building represent a significant change in perspective. From the Gothic style of the mid-13th century, an international perspective is established for the church of Santa Maria, which is distinguished from the rest of the architectural production in Catalonia during the 13th century and the first half of the 14th century.</p>
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Daeli, Fransiskus Fonnie, and Shanty Silitonga. "KAJIAN POLA RUANG DAN LITURGI DALAM GEREJA KATOLIK." ALUR : Jurnal Arsitektur 6, no. 1 (May 24, 2023): 57–63. http://dx.doi.org/10.54367/alur.v6i1.2659.
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The Catholic Church has certain spatial patterns, these patterns are formed due to several things, one of which is the liturgical process. The liturgical process in Catholicism is divided into five stages, each process will have a need for certain spaces. Apart from that, all of these liturgical processes have their own provisions which influence each other. This research will examine the relationship and pattern of space that is created as a result of the relationship between these two things. The research method used is qualitative with descriptive data processing. There are two Catholic churches used as the object of study, namely Gereja Katolik Santa Maria Tak Bernoda Asal (Katedral) and Gereja Santa Maria Ratu Rosari. This study found that the spatial patterns in the two church samples show a clear relationship with the liturgical process which is a core part of Catholic religious rituals.
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Ventura, Luca, Mirko Traversari, Gianni D'Altri, Luca Castellani, Mattia Ianella, and Ilaria Vaccarelli. "Mumije u crkvi Santa Maria Delle Grazie, Calascio." Collegium antropologicum 46, no. 4 (2022): 295–99. http://dx.doi.org/10.5671/ca.46.4.5.
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The inner Abruzzo region, corresponding to the province of L’Aquila, is a land of mountains and highlands in central Italy. Its environmental conditions greatly foster spontaneous mummification, and the area is well known for the human mummies found in the last decades. We present a newly discovered collection of mummified remains in the village of Calascio, located 1,210 meters above sea level, near Gran Sasso Mountain. Here, the Franciscan convent of Santa Maria delle Grazie was built in 1594. The preliminary survey of a crypt in the conventual church allowed us to observe wooden coffins with at least seven mummified bodies still in their clothes, and several bony remains. Most likely, the mummies date back to the second half of the 19th century, and belonged to laypersons. Preservation was certainly due to the cold dry environment of the crypt. The recovery of the entire series will take place through speleological techniques according to stratigraphic relationships, in order to trace a bioanthropological profile of this small community members.
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Guadagnuolo, Mariateresa, Giuseppe Faella, Marianna Aurilio, and Mariano Nuzzo. "The Conservation of Sixteenth Century Church Santa Maria of Montedecoro in Maddaloni." Resourceedings 2, no. 3 (November 27, 2019): 165. http://dx.doi.org/10.21625/resourceedings.v2i3.654.
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Santa Maria of Montedecoro is a sacral complex located in Maddaloni, in the south of Italy, and is one of the most important historical monuments of the city. Built in the sixteenth century, the monastic organism consists of an aggregate structure, including the church dedicated to the Virgin Mary, the bell tower which is set back from the church, the sacristy, the parsonage. This paper concerns the analysis of all the degradation phenomena identified in the complex, due to both its deterioration state and structural damage. Particular attention is placed on the bell tower that shows different degradation of the surfaces, with large erosions and fallen plasters. The masonry structure, notably compromised, shows several cracks due to the rotation of the tower towards the street. Because of such damage phenomena, a preliminary investigative research was performed to understand the effective conservation state of the Church and its appurtenances. The obtained diagnostic survey data confirm the hypotheses advanced in the cognitive phase and have provided all the necessary elements for the restoration and retrofitting design. This paper presents the restoration design and the results of the seismic analyses carried out on the bell tower.
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de Obaldía, Vanessa R. "Santa Maria della Purificazione: the First Capuchin Church in the Black Sea Region." Eurasian Studies 17, no. 1 (November 14, 2019): 1–22. http://dx.doi.org/10.1163/24685623-12340061.
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Abstract Santa Maria della Purificazione was the first Latin Catholic church built by the Friars Minor Capuchin in the Black Sea region during the post-Tanzimat period. It was an example of the order settlement after it sought refuge in the region due to its expulsion from Russian Georgia, where it was based since the mid-seventeenth century. Furthermore, this study analyzes the history of Capuchins at the time of their arrival in Trabzon in 1845, with the establishment of their church, friary, school, and cemetery, the latter intended to meet the needs of the local and foreign Latin Catholic residents of the city. The topic is also historically dealt with in terms of demography and urban planning. All these aspects are examined in the wider context of the legal impact of the Tanzimat on church building.
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Federici, Angelica. "Politics, Power, and Prestige in Female Conventual Communities of Medieval Latium: The Exemplary Case of Santa Maria in Viano (Frosinone)." Mediaevalia 44, no. 1 (2023): 185–214. http://dx.doi.org/10.1353/mdi.2023.a913479.
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Abstract: The renewed academic interest in religious women has not resulted in any overarching or detailed study of Latium. A thorough historiography is still lacking for the region's late medieval convents. This is surprising as the region was densely populated by female monastic settlements between the thirteenth and fourteenth centuries. An emblematic case in this regard is the convent of Santa Maria in Viano in Sgurgola (Frosinone). By the fourteenth century, almost half of the Conti family estate in Sgurgola was owned by the nunnery of Santa Maria in Viano. The convent played a pivotal role in shifting the delicate power balance between feudal lords in the region. What emerges is the prominent and strategic role of female monastic communities whose political agency casts a new light on an overlooked but historically dynamic period. Rural monastic settlements functioned as strategic frontiers, which were crucial to regional baronial land interests during the earlier period. Unsurprisingly, the presence of innovative architectural and artistic elements inside the church of Santa Maria in Viano also showcases the synthesis of Cistercian architectural models and local building traditions.
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Clementi, Francesco, Enrico Quagliarini, Francesco Monni, Ersilia Giordano, and Stefano Lenci. "Cultural Heritage and Earthquake: The Case Study of “Santa Maria Della Carità” in Ascoli Piceno." Open Civil Engineering Journal 11, no. 1 (December 29, 2017): 1079–105. http://dx.doi.org/10.2174/1874149501711011079.
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Background:In October 2016, two major earthquakes occurred in Marche region in the Centre of Italy, that resulted in widespread damage. The second one strokes Norcia, Visso, Arquata del Tronto, Accumoli and Amatrice, causing a lot of damages to cultural heritage of the cities of Tolentino, San Severino, Camerino and Ascoli Piceno, where the church ofSanta Maria della Caritàis located.Introduction:The church has high historical, architectural and social value for the city of Ascoli Piceno, because it is the only one that is opened to the devotees all time in the day and night. From the structural point of view, the church has a long and important annex to the north, which was later built with respect to the church, and after the L’Aquila earthquakes (2009) damages, the church was subjected to a retrofit intervention, in order to obtain a better “box-like behavior”.Objective:This paper addresses how the relevant annex influenced the seismic response of this historical complex and how, more generally, this kind of asymmetric mass may affect the behavior of historic churches.Results and Conclusion:The results indicate that the presence of annex plays a significant role in the dynamic response of the church and affects the distribution of damages in the whole building. The results of the seismic simulation agree with the observed damage.
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Tacón García, Antía. "Nuevas autoras y poemas en el Portugal setecentista: adendas para una bibliografía." Revista de Escritoras Ibéricas 10 (December 20, 2022): 111–33. http://dx.doi.org/10.5944/rei.vol.10.2022.32151.
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El presente artículo da noticia de un total de 28 poemas de autoría femenina que se publicaron entre la cuarta y la sexta décadas del siglo XVIII en Portugal. Entre ellos se incluyen siete composiciones anónimas y una firmada por Soror Tomásia Caetana de Santa Maria, escritora ya conocida por otros textos. Los demás son obra de trece mujeres distintas --poetas ocasionales que llegaron, no obstante, a dar sus versos a la imprenta-- cuyos nombres se recogen ahora por primera vez. Con ello, se pretende contribuir a la progresiva reconstrucción de la actividad literaria femenina a finales de la Edad Moderna en la Península Ibérica; en especial, la que se produjo en torno a los conventos portugueses, toda vez que la mayoría de estas autoras se encuentran vinculadas a algún monasterio.
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Streit, Jessica Renee. "Penitence and Crusade in the Assumption Chapel of the Real Monasterio de Las Huelgas, Burgos." Medieval Encounters 26, no. 6 (February 11, 2021): 578–606. http://dx.doi.org/10.1163/15700674-12340089.
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Abstract This study aims to interpret the visual qualities of the Assumption Chapel, located in the Cistercian monastery of Santa Maria La Real de Las Huelgas, Burgos. Rejecting the “mudejar” paradigm often used to explain the chapel’s connections to Andalusi architecture, the article instead considers its relationships to a group of twelfth- and thirteenth-century domed churches in Iberia and the French Pyrenees, as well as to Las Huelgas’s adjacent, late-Romanesque cloister. In so doing, it situates the Assumption Chapel in a broader context of monuments related to penitence and crusade in the Holy Land and Iberia. It also considers the chapel’s form and function in the light of Las Huelgas’s ritual topography. Most broadly, this study shows how seemingly incongruent visual languages—in this case Romanesque and Andalusi—can comprise a coherent program of imagery.
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Miles, Margaret R. "Santa Maria Maggiore's Fifth-Century Mosaics: Triumphal Christianity and the Jews." Harvard Theological Review 86, no. 2 (April 1993): 155–72. http://dx.doi.org/10.1017/s001781600003114x.
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The fifth-century mosaics of Santa Maria Maggiore in Rome represent the oldest surviving program of mosaic decoration in a Christian church. Its political context includes the steady drain of political authority and power to the Eastern empire from the early fourth century forward, the proscription of paganism at the end of the fourth century, and the massively disruptive Sack of Rome by Alaric in 410 CE. In the vacuum of political power in the West, the papacy under Sixtus III made a strong claim for a new basis of Roman power—the religious primacy of the city of Peter and Paul under papal leadership. The building and decoration of Santa Maria Maggiore played an important role in the consolidation and public announcement of papal power.
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Di Napoli, Beatrice, Maria Pia Ciocci, Thomas Celano, Luca U. Argiento, Claudia Casapulla, and Paulo B. Lourenço. "Seismic behaviour of a mixed iron-masonry church: Santa Maria Maddalena, Ischia." Proceedings of the Institution of Civil Engineers - Engineering and Computational Mechanics 174, no. 2 (June 2021): 114–29. http://dx.doi.org/10.1680/jencm.20.00009.
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Adriano, P., A. Santos Silva, R. Veiga, J. Mirão, and A. E. Candeias. "Microscopic characterisation of old mortars from the Santa Maria Church in Évora." Materials Characterization 60, no. 7 (July 2009): 610–20. http://dx.doi.org/10.1016/j.matchar.2008.11.008.
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Imposa, Sebastiano, and Sabrina Grassi. "Georadar survey inside the Santa Maria Maggiore church of Ispica (Sicily-Italy)." Environmental Earth Sciences 73, no. 5 (July 27, 2014): 1939–49. http://dx.doi.org/10.1007/s12665-014-3542-9.
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Wilhelmus, Ola Rongan, and Yulius Suparlis. "PERSEPSI PENGURUS LINGKUNGAN STASI SANTA MARIA RATU DAMAI SLAHUNG PONOROGO TENTANG HAKEKAT LINGKUNGAN." JPAK: Jurnal Pendidikan Agama Katolik 23, no. 2 (June 7, 2023): 48–65. http://dx.doi.org/10.34150/jpak.v23i2.515.
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Basic Christian Community is a way of life for the Church of Christ's disciples in society. The community is present in the midst of society to live out and proclaim the Gospel of Christ for families and society through fellowship, worship, preaching, witnessing and community service. Many members and administrators of the community do not understand and appreciate well and deeply the nature of the Basic Christian Community. The research was conducted with the aim of analyzing the understanding of Basic Christian Community administrators regarding the nature of the community. The research was carried out using a quantitative approach, and the type of research was a survey. The research respondents consisted of the community administrators at the Santa Maria Ratu Damai Slahung Station, Ponorogo. The main variables of this research are the Basic Christian Community, the purpose and function of the community, community members and administrators, and the relationship between the parish and the community. The results of the research data analysis revealed that majority of respondents perceived that Basic Christian Community is the way of life for Christ's disciples in the Church. The results of the research data analysis also indicated that the community was formed with the aim of experiencing the 5 aspects of Church life (fellowship, worship, preaching, witnessing and community service) both in the family and society.
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Strocchia, Sharon T. "Remembering the Family: Women, Kin, and Commemorative Masses in Renaissance Florence*." Renaissance Quarterly 42, no. 4 (1989): 635–54. http://dx.doi.org/10.2307/2862275.
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In August 1465 Alessandra Macinghi Strozzi, mother of the art patron and builder Filippo Strozzi, arranged for an annual set of masses in the parish church of Santa Maria Ughi. Her purpose, as she said, was to commemorate the souls of “all our dead,” “tutti enostri passati”(sic). In her record of the commission, Alessandra carefully outlined the conditions of the bequest. She noted, for example, the location of the land donation whose proceeds subsidized the masses and the day the ten masses were to be performed, and made alternate arrangements should the priests of Santa Maria Ughi fail to uphold their obligations. Yet within this context of legal specifications and formulae, Alessandra remained curiously vague about one of the program's essential clauses: namely, the precise identity of “all our dead.“
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Shalit-Kollender, Michal. "The Fresco Cycle of Saint Maria Maddalena De’ Pazzi (1566–1607)." Religion and the Arts 25, no. 4 (September 29, 2021): 421–54. http://dx.doi.org/10.1163/15685292-02504002.
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Abstract Saint Maria Maddalena de’ Pazzi, a Florentine Carmelite nun and mystic, was recognized as a saint in 1669. After her canonization, a church in Florence was renovated and renamed Santa Maria Maddalena de’ Pazzi, and new artworks were commissioned for it. This article will explore in detail a series of ten frescoes on the top section of the walls in the church, part of the renovation. Although these works are part of the saint’s public iconography and depict major narratives of her cult, they have not been studied in depth to date. Though the scenes have meaning to a general Catholic audience, they appeal to different audiences—the Carmelite nuns, the local Florentine population, and the post-Counter Reformation believer—to differing degrees, the scenes with Jesuit undertones aimed particular at the latter group.
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Tungadi, Astrid Lestari, Erick Alfons Lisangan, and Shereen Beatrix Adhiwidjaja. "Penerapan Aplikasi Pendataan Umat Pada Gereja Santa Perawan Maria Diangkat Ke Surga Makassar." ABDIMASKU : JURNAL PENGABDIAN MASYARAKAT 4, no. 3 (September 10, 2021): 260. http://dx.doi.org/10.33633/ja.v4i3.238.
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The application of information technology has been widely used in organizations, one of which is in the Church. The annual activity that is routinely carried out is the data collection of the people by distributing data forms to each Church people. In order to improve services and help with fast data retrieval, it is necessary to apply information technology in the form of a community data collection application using internet. The method of applying the application is carried out in the form of sampling trials as well as training in the form of lecture methods, discussions, and direct practice of using the community data collection application. The results of community service activities show that the application applied helps the data collection process better and faster and has a positive impact where participants find the application easy to use and can be accessed at any time.
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Pebi Anggreini, Silvester Adinuhgra, and Agnes Angi Dian W. "Penerapan Nilai - Nilai Kebudayaan Terhadap Partisipasi Umat Dalam Perayaan Ekaristi Di Paroki Santa Maria Immaculata Wayun Palu- Rejo." Sepakat : Jurnal Pastoral Kateketik 9, no. 2 (September 11, 2023): 29–42. http://dx.doi.org/10.58374/sepakat.v9i2.192.
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This research examines the application of cultural values towards the participation of the congregation in the Eucharistic celebration at the Parish of Santa Maria Immaculata Wayun Palu-Rejo, located in the district of South Barito, Central Kalimantan. The parish exemplifies unity and tolerance among the faithful from diverse ethnic and cultural backgrounds who participate in the Eucharistic celebration and other pastoral activities. A qualitative research method was employed, gathering data through interviews with 8 members of the congregation and 3 parish officials. The data were analyzed using Miles and Huberman's analysis method. The results of the study indicate that the congregation of the Parish of Santa Maria Immaculata Wayun Palu-Rejo has applied cultural values in their participation during the Eucharistic celebrations. The use of language, music, dance, and traditional attire is evident in the Inculturation Mass and other Eucharistic celebrations. The spirit of mutual cooperation, empathy, and care for fellow believers also influences the congregation's participation in the Eucharistic celebration. Pastoral efforts and catechesis conducted by the priests and parish officials play a vital role in encouraging the congregation to appreciate and apply cultural values in church activities. The priests convey messages and advice on the importance of cultural values during sermons and socialization. The Inculturation Mass serves as one of the initiatives to incorporate cultural values into the Eucharistic celebration. In conclusion, the application of cultural values significantly affects the participation of the congregation in the Eucharistic celebration at the Parish of Santa Maria Immaculata Wayun Palu-Rejo. Pastoral efforts and catechesis by the priests and church officials help raise awareness among the congregation regarding the significance of culture in religious life. Culture and congregation participation in the Eucharistic celebration are interconnected and require cooperation between church officials and the congregation. A suggestion for further research is to gain a deeper understanding and analyze the impact of cultural values on the participation of the congregation in other aspects of church life. Additionally, involving other ethnic groups in the study would provide a more comprehensive overview of the cultural diversity in this parish.
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Massaccesi, Fabio. "Per Ravenna trecentesca: nuove proposte per l’assetto architettonico di Santa Maria in Porto Fuori." Zeitschrift für Kunstgeschichte 82, no. 1 (April 19, 2019): 3–31. http://dx.doi.org/10.1515/zkg-2019-0001.
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Abstract This contribution intends to draw attention to one of the most significant monuments of medieval Ravenna: the church of Santa Maria in Porto Fuori, which was destroyed during the Second World War. Until now, scholars have focused on the pictorial cycle known through photographs and attributed to the painter Pietro da Rimini. However, the architecture of the building has not been the subject of systematic studies. For the first time, this essay reconstructs the fourteenth-century architectural structure of the church, the apse of which was rebuilt by 1314. The data that led to the virtual restitution of the choir and the related rood screen are the basis for new reflections on the accesses to the apse area, on the pilgrimage flows, and on the view of the frescoes.
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Muttaqin, Muttaqin, and Chevira Yasin Putri Indriyanti. "MAKNA SIMBOL YESUS DALAM IBADAH UMAT KATOLIK DI GUA MARIA LOURDES, PUHSARANG, KEDIRI." JPAK: Jurnal Pendidikan Agama Katolik 23, no. 1 (December 19, 2022): 30–46. http://dx.doi.org/10.34150/jpak.v23i1.425.
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The Catholic Church of Santa Maria Lourdes, Puhsarang, Kediri, is one of the churches of the last architectural works of Henri Meclaine Pont, has a section of the Maria Lourdes Cave and a statue of the Golgotha Cross with a different shape from other Catholic churches. Until now the Puhsarang church has become a place of pilgrimage for Catholics in worship as well as being a religious tourism object. With the shape of the symbol of the way of the cross made with a larger size than other churches. To find out the meaning contained in the symbol of the Way of the Cross, the researcher used the approach based on Clifford Greetz's symbol theory, namely the anthropological approach which was carried out by means of field research and the research results were obtained from observations and interviews.
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Tarakanova, Ekaterina. "The Mazzatosta Chapel Ensemble in the Church Santa Maria della Verità in Viterbo." Actual Problems of Theory and History of Art 6 (2016): 352–60. http://dx.doi.org/10.18688/aa166-5-36.
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Bolgia, Claudia. "An Engraved Architectural Drawing at Santa Maria in Aracoeli, Rome." Journal of the Society of Architectural Historians 62, no. 4 (December 1, 2003): 436–47. http://dx.doi.org/10.2307/3592496.
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The use of tracings-drawings engraved on floors or walls showing an architectural detail to scale-was an important stage of the Gothic building process. Although examples of such engravings have survived all over Europe, very few Italian tracings are preserved. Two hitherto unknown examples, found in the Roman church of Santa Maria in Aracoeli, are presented here for the first time. One portrays the profile of a small base and was probably a trial drawing. The other is a two-light-and-oculus tracery pattern, and is particularly interesting because it is drawn to full scale and was cut into a reused slab of ancient marble. In this essay, I reconstruct the geometric process of generating the design and analyze the position of the tracing, with its peculiar Roman features, within the European Gothic context. I also consider the engraved drawing's possible function (guideline for template- and stone-cutters, or slab from which the tracery was to be cut directly), destination (sepulchral monument, window, or ciborium), and dating.